Sunday, January 30, 2011
My thanks to Bonnie Harmston for pointing out the original post about Van Gogh's colors in pie chart form and to Stephen Dickerson for showing me something similar in photoshop with pixelated filters. Very fun way to see what colors I use! (Of course the edges of this are actually the colors of my easel!)
Tuesday, January 25, 2011
Lawrence Dilka of Ojo Caliente's work hanging in one of my extra bedrooms
Needless to say, Rees & I had a great time in NYC. Although the temperatures were arctic, we managed to see quite a few things: a couple of plays, Time Stands Still with Laura Linney, Eric Bogosian, & Christina Ricci and The Importance of Being Ernest, both of which I thoroughly enjoyed, and then the musical Addams Family with Nathan Lane and BeBe Neuwirth, which I did not (a little too campy for my tastes).
Museums occupied quite a bit of my time. I thoroughly enjoyed the Frick Collection, MoMA, the Metropolitan Museum of Art and the Hopper exhibit at the Whitney.
That aside: after looking at Andy Warhol's Campbell soup cans (from wikipedia:
Monday, January 17, 2011
People ask all the time if I work plein air or in the studio. Of course, this time of year, I'd want to be in the studio anyway. But, most of the year, the oil pastels are not the best plein air medium. They get smooshy in the sun. And goopy--like when you leave your chapstick in a hot car and then try to use it and end up with extra wax all over your face. The same happens with oil pastels.
I usually say that I work from photographs. But, there is a caveat to that. I only loosely base my work on the photo. The piece above is of the one room school house in Black Lake--no longer used for that purpose as we have actual real schools here. And this is as close as I'll ever get to a reference photograph. You can see I see things in a somewhat cheery manner. Must be those rose colored glasses.
Tuesday, January 11, 2011
View of the framing station and door to the extra storage I had to build on.
Spotless framing counter (with dog--JuneBug in her painting position)--you should have seen me up on top of the counter with my Dyson vacuuming away!
If only it could stay like this!
One of the three drawers of oils!
And while I didn't get a ton done today, it felt good to be working in a clean space!
Saturday, January 8, 2011
Thursday, January 6, 2011
Giclée (pronounced /ʒiːˈkleɪ/ "zhee-clay" or /dʒiːˈkleɪ, from French [ʒiˈkle]) is a neologism for the process of making fine art prints from a digital source using ink-jet printing. The word "giclée" is derived from the French language word "le gicleur" meaning "nozzle", or more specifically "gicler" meaning "to squirt, spurt, or spray". It was coined in 1991 by Jack Duganne, a printmaker working in the field, to represent any inkjet-based digital print used as fine art. The intent of that name was to distinguish commonly known industrial "Iris proofs" from the type of fine art prints artists were producing on those same types of printers. The name was originally applied to fine art prints created on Iris printers in a process invented in the early 1990s but has since come to mean any high quality ink-jet print and is often used in galleries and print shops to denote such prints.
After college, I bought some prints to decorate my apartment. I sure wish the artists and galleries I bought from had suggested that, rather than purchase a large print, that I might consider a small original. Because now a few of those posters hang in my laundry room and the rest are long gone. And I still don't have enough room to hang all the art I would like!
At art shows, I have seen artists with huge bins of prints. And then I see them spend all this time helping people try to pick which print to buy, all the while ignoring people who are actually looking at the originals. I think it is lost sales. Then I see artists who have been doing prints, coffee mugs, mouse pads, tshirts, etc. for years. Their market has been flooded. Patrons see the artist and exclaim, "Oh, I have a poster of yours!" They are not even considering the acquisition of an original.
Granted, there are people who don't have the money to spend on an original piece. But, I am always happy to work out a payment schedule and I try to offer small pieces so if someone likes my work and can't afford (either monetarily or space-wise) a big piece, they can acquire a smaller one. Or, if necessary, a postcard or business card with an image of my work on it (I do let the purchaser of the original know if I have used the image on one of my marketing items before the sale)--to tide them over until the time is right.
So, I'm going to stick to my principles and not create prints of my work. Maybe this post will help explain why.